Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from East Timor and from Seoul.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1961 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Tokyo.
I'm losing my edge to the art-school Accra kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Danielle Patucci to the funk kids.
I played it at the Astoria.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Rapeman. All the underground hits.
All DNA tracks. I heard you have a vinyl of every Ronnie Foster record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Agitation Free record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
The Slits,
Cecil Taylor,
Johnny Clarke,
Mad Mike,
The Vogues,
Rahsaan Roland Kirk,
Traffic Nightmare,
Moby Grape,
Robert Hood,
Alison Limerick,
Notorious Big And Bone Thugs,
The Shadows of Knight,
Popol Vuh,
Intrusion,
The Fire Engines,
Jeru the Damaja,
Dark Day,
Kool Moe Dee,
The Residents,
Tomorrow,
Harry Pussy,
K-Klass,
Nils Olav,
Oppenheimer Analysis,
Ponytail,
Bush Tetras,
Echospace,
Liliput,
Cabaret Voltaire,
Black Bananas,
the Human League,
The Skatalites,
The Motions,
Funky Four + One,
Ten City,
Jeff Lynne,
R.M.O.,
Talk Talk,
Symarip,
LL Cool J,
The Sound,
Kas Product,
Avey Tare,
Sparks,
Jacques Brel,
John Cale,
Terry Callier,
Tim Buckley,
Gian Franco Pienzio,
Toni Rubio,
The Royal Family And The Poor,
The Searchers,
The Velvet Underground,
Schoolly D,
Piero Umiliani,
Zero Boys,
Kings Of Tomorrow,
Selector Dub Narcotic,
Lower 48, Lower 48, Lower 48, Lower 48.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.